I've been following the forum posts silently for some time. After looking into the Concept theoretically I'm finally beginning to put it into practice (long time due .

I want to crasp the concept *by ear*.So I have a question about playing the progressions from Test B (p. 68 ff):

What type of chords/voicings should I play against the melody ?

If i take the chordnames "literally", f.e. playing LA VI against a min7 (1 b3 5 b7) already sounds pretty outgoing to me. Playing Fm/maj7 Bbm/maj7 doesn't sound "quite right" as a progression. Min6 seems to be a neutral choice in this case, falling into place with the LA VI chordmode.

Somewhere it is mentioned that for II PMG it is sufficient to only play the tonic and b7 as comp. What about the other PMGs ?

I feel like missing a fundamental point of the concept to put it into practice. Maybe I should also mention, that I'm not an experienced jazz player...

I think you are asking some good questions. You have several options:1. You can play chords that emphasize you scale choice, such as playing a mi#7 chord for Modal Genre VI using Lydian Augmented or2. play only roots and minor thirds for minor chord and roots and flat seventh on seventh chords.Actually, a cool third option would be to program the changes into Band-In-A-Box and jam with only the bass and drums. Your single line soloing would be reflecting vertical aspects of the progression. Your idea of using minor 6 chords is good too. Try min6/9 chords.

"I think you are asking some good questions. You have several options:1. You can play chords that emphasize you scale choice, such as playing a mi#7 chord for Modal Genre VI using Lydian Augmented or2. play only roots and minor thirds for minor chord and roots and flat seventh on seventh chords.Actually, a cool third option would be to program the changes into Band-In-A-Box and jam with only the bass and drums. Your single line soloing would be reflecting vertical aspects of the progression. Your idea of using minor 6 chords is good too. Try min6/9 chords."

i might suggest also:

3) using only the bass note (modal tonic) and let the scales color the harmony. andy was emphasizing this at the NYC workshop.